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30 Selected Artists at LOEWE FOUNDATION Craft Prize 2022

Article  /  Artists   Curating   Fashion   Collecting   WangShu
Published: 11.02.2022
30 Selected Artists at LOEWE FOUNDATION Craft Prize 2022.
Mail:
fundacionE-mailloewe.es
Author:
Loewe Foundation
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2022
David Clarke. Object: Stash, 2020. Silver plate, pewter, steel.. Various dimensions. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Redundant antique candelabras and candlesticks have been repurposed to create a series of three majestic and intriguing silverware compositions. Confounding the expectations of the viewer, each is crowned with a pair of hand-finished upturned pewter bowls that act as lids. The series reflects on sustainability, abundance and the joy of social gatherings.. David Clarke
Object: Stash, 2020
Silver plate, pewter, steel.
Various dimensions
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Redundant antique candelabras and candlesticks have been repurposed to create a series of three majestic and intriguing silverware compositions. Confounding the expectations of the viewer, each is crowned with a pair of hand-finished upturned pewter bowls that act as lids. The series reflects on sustainability, abundance and the joy of social gatherings.

© By the author. Read Klimt02.net Copyright.

Intro
LOEWE is pleased to announce the names of the 30 shortlisted artists for the 2022 edition of the LOEWE FOUNDATION Craft Prize. Each finalist’s work will be exhibited at the Seoul Museum of Craft Art (SeMoCA), Seoul from 1 July to 30 July 2022.

The fifth edition of the LOEWE FOUNDATION Craft Prize presents an invigorating selection of works that display contemporary updates to centuries-old tradition. Many of the finalists selected this year have presented works that show a deep understanding and mastery of ancient techniques from across the globe, combined with the application of novel and unexpected materials to create works that are both relevant to our present time and relationship with the past while striving to look to the future. The selection of works also speaks to humanity’s connection to the natural world and to geometry in natural form.
 
This year’s finalists were chosen by a panel of experts from over 3,100 submissions by artisans representing 116 countries. The finalists selected represent 15 countries and work across a list of mediums including ceramics, woodwork, textiles, leather, basketry, glass, metal, jewellery, and lacquer.
 
The annual prize was launched by the LOEWE FOUNDATION in 2016 to celebrate excellence, artistic merit, and newness in modern craftsmanship. The award, which was conceived by creative director Jonathan Anderson, aims to acknowledge the importance of craft in today’s culture and recognise working artists whose talent, vision, and will to innovate promise to set a new standard for the future. The prize was conceived as a tribute to LOEWE’s beginnings as a collective craft workshop in 1846.
 
The Craft Prize 2022 recognises the shortlisted artists as having made fundamentally important contributions to the development of contemporary craft. The finalists’ work will go on display at the newly opened Seoul Museum of Craft Art (SeMoCA), the country’s first museum dedicated to Korean craft. The legacy of the exhibition will be documented by a catalogue containing each of the finalists’ pieces.
 
Previous iterations of the prize have been exhibited at Colegio Oficial de Arquitectos de Madrid (COAM), Madrid; The Design Museum, London; Isamu Noguchi’s indoor stone garden ‘Heaven’ at the Sogetsu Kaikan, Tokyo and digitally in a joint presentation with Musée des Arts Décoratifs, Paris.
 
Jonathan Anderson stated at the award’s inception: ‘Craft is the essence of LOEWE. As a house, we are about craft in the purest sense of the word. That is where our modernity lies, and it will always be relevant.
 
For the 2022 edition, a panel of 11 experts convened in Madrid for two days to review all the entries to the prize and select the shortlist. In their deliberations, the panel sought to identify the most outstanding works in terms of technical accomplishment, skills, innovation, and artistic vision.
 
Regarding the selection process, Anatxu Zabalbeascoa, Executive Secretary of the LOEWE FOUNDATION Craft Prize Experts Panel, said: ‘We feel lucky and thankful that in this fifth edition the world seems to be coming to the Craft Prize. Among the finalists, there are works from five continents that summarize the wide spectrum of contemporary craft and the bridges it is building among disciplines, materials, technologies, and pre-technologies. This adds to de diversity that we aim – by considering all categories of craft – a cosmopolitan dimension that describes the best craft as being both timeless and yet very rooted.’
 
A jury composed of 13 leading figures from the world of design, architecture, journalism, criticism, and museum curatorship will select the winner of the 2022 Craft Prize. The prize awarded to the winner is 50,000 Euros and the announcement will be made on 30 June 2022, at the opening of the Craft Prize 2022 exhibition at the Seoul Museum of Craft Art.

Jury:
Abraham Thomas, Curator of Modern Architecture, Design and Decorative Arts at the Metropolitan Museum of Art, New York.
Anatxu Zabalbeascoa (Chair), Architecture and Design Correspondent for El País.
Benedetta Tagliabue, Architect and RIBA Stirling Prize Winner.
Deyan Sudjic, Essayist and former Director of the Design Museum, London.
Enrique Loewe, LOEWE FOUNDATION Honorary President.
Fanglu Lin, Textile Artist and Winner of LOEWE FOUNDATION Craft Prize 2021.
Hongnam Kim, former Director of the National Museum of Korea, Seoul.
Jonathan Anderson, LOEWE Creative Director.
Naoto Fukasawa, Designer and Director of the Japan Folk Crafts Museum, Tokyo.
Magdalene Odundo, Ceramicist.
Olivier Gabet, Director of the Musée des Arts Décoratifs, Paris.
Patricia Urquiola, Architect and Industrial Designer.
Wang Shu, Architect and Pritzker Prize Winner.


The selected finalists for the LOEWE FOUNDATION Craft Prize 2022 are (in alphabetical order, with nationality):
Andile Dyalvane (South Africa), Annika Jarring (Sweden), Awaré (France), Beate Leonards (Germany), Blast Studio (United Kingdom) Chikuunsai Tanabe (Japan), Dahye Jeong (Republic of Korea), David Clarke (United Kingdom), Domingos Tótora (Brazil), Eleanor Lakelin (United Kingdom), Fernando Casasempere (Chile), Fredrik Nielsen (Sweden), Julia Obermaier (Germany), Junsu Kim (Republic of Korea), Kate Malone (United Kingdom), Konrad Koppold (Germany), Lu Bin (China), Madoda Fani (South Africa), Marianne Huotari (Finland), Mayumi Onagi (Japan), Mel Douglas (Australia), Minwook Kim (Republic of Korea), Myungtaek Jung (Republic of Korea), Pao Hui Kao (Taiwan), Peter T. McCarthy (Cote d’Ivoire), Sangwook Huh (Republic of Korea), Soyun Jung (Republic of Korea), Trinidad Contreras (Spain), Vera Siemund (Germany), Yongjin Chung (Republic of Korea).


About The LOEWE Foundation
The LOEWE FOUNDATION was established as a private cultural foundation in 1988 by Enrique Loewe, a fourth-generation member of LOEWE’s founding family. Today, under the direction of his daughter Sheila Loewe, the Foundation continues to promote creativity, organise educational programs and protect cultural heritage in the fields of craft, design, photography, poetry and dance. The Foundation was awarded the Gold Medal for Merit in the Fine Arts by the Spanish government in 2002.
 
LOEWE & Culture
With the LOEWE FOUNDATION Craft Prize the house reasserts its longstanding commitment to creativity in all forms and disciplines. Culture is a pillar of the brand. Reflecting fashion’s vital link to contemporary life, a strong emphasis on art, design and craftsmanship has been a cornerstone of Jonathan Anderson’s rebuilding of the house. Since Anderson’s appointment in 2013, LOEWE has initiated an important series of collaborations with artists and artisans who reinterpret and expand the brand’s values. Apart from showcasing the many facets of LOEWE, these cultural projects reflect the transfer of knowledge and the cooperative spirit that have been characteristic of LOEWE since the day it was founded.
 
Awaré. Object: Strata, 2021. Silk pongee, ash tree wood.. 31 x 30 x 60 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Exploring the geological phenomena that regulate our planet and its connection to humanity throughout time, Awaré has created a carved wooden receptacle and encased it with thin silk threads. The thread is bonded to the wood with a hot iron and brushed with ink to create a gradient that relates to the layers of the earth from across geological periods.. Awaré
Object: Strata, 2021
Silk pongee, ash tree wood.
31 x 30 x 60 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Exploring the geological phenomena that regulate our planet and its connection to humanity throughout time, Awaré has created a carved wooden receptacle and encased it with thin silk threads. The thread is bonded to the wood with a hot iron and brushed with ink to create a gradient that relates to the layers of the earth from across geological periods.

© By the author. Read Klimt02.net Copyright.
Lu Bin. Vase: 1997, 2021. Stoneware. 150 x 100 x 42 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Finely crafted and expertly executed, this installation combines 18 individual pieces created using the traditional Yixing clay slab technique. The work shows both an enjoyment and mastery of the ceramic process, and the individual pieces sit in conversational dialogue. A variation in the application of glazed finishes creates a range of beautifully soft tones that punctuate the final firing.. Lu Bin
Vase: 1997, 2021
Stoneware
150 x 100 x 42 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Finely crafted and expertly executed, this installation combines 18 individual pieces created using the traditional Yixing clay slab technique. The work shows both an enjoyment and mastery of the ceramic process, and the individual pieces sit in conversational dialogue. A variation in the application of glazed finishes creates a range of beautifully soft tones that punctuate the final firing.

© By the author. Read Klimt02.net Copyright.
Blast Studio. Sculpture: Blue Tree, 2021. Used coffee cups.. 42 x 42 x 196 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. A symbolic statement on the issue of sustainability, this man-made tree explores humanity’s relationship with nature and our role in the ecosystem. Each of the tree’s four modules has been 3D printed using pulp from used takeaway coffee cups. The pulp has been dyed indigo, printed and sculpted, then stacked to create a columnal structure with nooks and crevasses, capable of supporting and sheltering living organisms and plants.. Blast Studio
Sculpture: Blue Tree, 2021
Used coffee cups.
42 x 42 x 196 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

A symbolic statement on the issue of sustainability, this man-made tree explores humanity’s relationship with nature and our role in the ecosystem. Each of the tree’s four modules has been 3D printed using pulp from used takeaway coffee cups. The pulp has been dyed indigo, printed and sculpted, then stacked to create a columnal structure with nooks and crevasses, capable of supporting and sheltering living organisms and plants.

© By the author. Read Klimt02.net Copyright.
Fernando Casasempere. Vessel: Red Folded Organic Form, 2020. Stoneware, minerals.. 49 x 71 x 73 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. This single ceramic form is created using a bespoke clay mix, comprised of stoneware and discarded materials from Chilean copper mining, lends the work its distinctive texture and rich, deep colour that speaks to a profound fascination with geology. Using hand-built coiling, an ancient technique that requires fine control, Casasempere has applied the weight of his body to press convex shapes into the vessel. This balance between slump and collapse has been carefully exploited taking the natural qualities of clay to the extremes of its possibilities, a metaphor for humanity’s indelible imprint on the earth.. Fernando Casasempere
Vessel: Red Folded Organic Form, 2020
Stoneware, minerals.
49 x 71 x 73 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

This single ceramic form is created using a bespoke clay mix, comprised of stoneware and discarded materials from Chilean copper mining, lends the work its distinctive texture and rich, deep colour that speaks to a profound fascination with geology. Using hand-built coiling, an ancient technique that requires fine control, Casasempere has applied the weight of his body to press convex shapes into the vessel. This balance between slump and collapse has been carefully exploited taking the natural qualities of clay to the extremes of its possibilities, a metaphor for humanity’s indelible imprint on the earth.

© By the author. Read Klimt02.net Copyright.
Yongjin Chung. Bowl: Wavy Inverted Bowl, 2020. Stainless steel. 62 x 62 x 32 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Taking inspiration from an ancient Korean proverb that has its roots in Confucianism and equates a person’s character to a vessel, this ambitious stainless steel bowl has been created using techniques that maintain the traditional qualities in craft while introducing modern technology through the use of computer-aided metal design. The steel has been laser cut and micro-welded to create a double-walled bowl that is almost immaculate in terms of technique. The material has been interpreted with finesse and simplicity with a hand-polished finish that retains the quality of the surface, its scratches and small marks, acting as a metaphor for human life.. Yongjin Chung
Bowl: Wavy Inverted Bowl, 2020
Stainless steel
62 x 62 x 32 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Taking inspiration from an ancient Korean proverb that has its roots in Confucianism and equates a person’s character to a vessel, this ambitious stainless steel bowl has been created using techniques that maintain the traditional qualities in craft while introducing modern technology through the use of computer-aided metal design. The steel has been laser cut and micro-welded to create a double-walled bowl that is almost immaculate in terms of technique. The material has been interpreted with finesse and simplicity with a hand-polished finish that retains the quality of the surface, its scratches and small marks, acting as a metaphor for human life.

© By the author. Read Klimt02.net Copyright.
Trinidad Contreras. Brooch: Crypsis, 2020. Refractory, porcelain, leather, silver, brass, steel.. Various dimensions. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Confounding the expectations of the viewer, the palate and materials chosen for this brooch are intended to create a sense of tactility that deceives the eye of the viewer. Contreras has created something that, on first viewing, appears to be a second skin and, with further attention, is revealed to be an ornamental piece of jewellery. Created from two elements made of porcelain, earthy stoneware, and leather, and wrapped with tulle that can be combined into one piece, the compositions are assembled in silver using traditional jewellery techniques.. Trinidad Contreras
Brooch: Crypsis, 2020
Refractory, porcelain, leather, silver, brass, steel.
Various dimensions
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Confounding the expectations of the viewer, the palate and materials chosen for this brooch are intended to create a sense of tactility that deceives the eye of the viewer. Contreras has created something that, on first viewing, appears to be a second skin and, with further attention, is revealed to be an ornamental piece of jewellery. Created from two elements made of porcelain, earthy stoneware, and leather, and wrapped with tulle that can be combined into one piece, the compositions are assembled in silver using traditional jewellery techniques.

© By the author. Read Klimt02.net Copyright.
Mel Douglas. Object: Deviation, 2020. Kiln formed cold-worked engraved glass.. 5 x 50 x 50 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Displaying exceptional precision, the glass has been cut and kiln-formed into two distinct structures that are then cold worked, hand sanded, and positioned so that they partially overlap. Finished with hand engraving, Douglas has etched lines onto the surface of the glass to explore the liminal space between two-dimensional drawing and three-dimensional objects to create a work that gives the illusion of depth.. Mel Douglas
Object: Deviation, 2020
Kiln formed cold-worked engraved glass.
5 x 50 x 50 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Displaying exceptional precision, the glass has been cut and kiln-formed into two distinct structures that are then cold worked, hand sanded, and positioned so that they partially overlap. Finished with hand engraving, Douglas has etched lines onto the surface of the glass to explore the liminal space between two-dimensional drawing and three-dimensional objects to create a work that gives the illusion of depth.

© By the author. Read Klimt02.net Copyright.
Andile Dyalvane. Vessel: Cornish Wall, 2019. Glazed stoneware clay.. 34 x 34 x 45 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Hand-built using red earthenware coils, this vessel has strong textures that reveal the process of making, including torn ceramic slabs and lines brushed on with a handmade bonsai brush. Carrying a beautiful sense of movement, the work pays homage to both African and British pottery, drawing on Xhosa culture from South Africa and its influence on studio pottery through the work of Bernard Leach. Created during a residency in Cornwall in 2019, the work speaks of a changing natural landscape, of eroding riverbed walls in South Africa, and of the disappearing coastline around St Ives.. Andile Dyalvane
Vessel: Cornish Wall, 2019
Glazed stoneware clay.
34 x 34 x 45 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Hand-built using red earthenware coils, this vessel has strong textures that reveal the process of making, including torn ceramic slabs and lines brushed on with a handmade bonsai brush. Carrying a beautiful sense of movement, the work pays homage to both African and British pottery, drawing on Xhosa culture from South Africa and its influence on studio pottery through the work of Bernard Leach. Created during a residency in Cornwall in 2019, the work speaks of a changing natural landscape, of eroding riverbed walls in South Africa, and of the disappearing coastline around St Ives.

© By the author. Read Klimt02.net Copyright.
Madoda Fani. Vessel: iZembe (An Axe), 2021. Terracota. 21 x 21 x 40 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Using locally sourced clay and employing traditional techniques indigenous to Southern Africa including hand-coiling, burnishing and smoke-firing, this vessel forms part of Fani’s iQweqwe series which translates from isiXhosa as ‘crust’. Referencing insect exoskeletons, a recurrent motif in Fani’s work, the vessel’s contours are accentuated by a concentric repetitive pattern and finished with detailed markings and studded protrusions to create a piece that is both timeless and futuristic. After an initial bisque firing, the vessel is smoke-fired to give it a uniform black colour.. Madoda Fani
Vessel: iZembe (An Axe), 2021
Terracota
21 x 21 x 40 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Using locally sourced clay and employing traditional techniques indigenous to Southern Africa including hand-coiling, burnishing and smoke-firing, this vessel forms part of Fani’s iQweqwe series which translates from isiXhosa as ‘crust’. Referencing insect exoskeletons, a recurrent motif in Fani’s work, the vessel’s contours are accentuated by a concentric repetitive pattern and finished with detailed markings and studded protrusions to create a piece that is both timeless and futuristic. After an initial bisque firing, the vessel is smoke-fired to give it a uniform black colour.

© By the author. Read Klimt02.net Copyright.
Sangwook Huh. Vessel: Vessel with Plantain Surface Decoration, 2019. Clay, red iron oxide, cobalt, white slip, silver gloss.. 37 x 37 x 37.5 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Drawing on the ancient 14th-century technique of buncheong, meaning to powder the surface, part of a rich ceramic tradition in Korea, this white slip brushed ceramic vessel has been assembled from two large bowls thrown on the wheel.   The vessel’s surface is treated like a painting, first layered with slip and brushed with iron oxide to create a plantain pattern, and then finished with a layer of silver – a modern juxtaposition against the historical white and blue. Inspired by the writings of Taejoon Lee, the piece evokes the exotic sensibility of landscape and the layers of time.. Sangwook Huh
Vessel: Vessel with Plantain Surface Decoration, 2019
Clay, red iron oxide, cobalt, white slip, silver gloss.
37 x 37 x 37.5 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Drawing on the ancient 14th-century technique of buncheong, meaning to powder the surface, part of a rich ceramic tradition in Korea, this white slip brushed ceramic vessel has been assembled from two large bowls thrown on the wheel.   The vessel’s surface is treated like a painting, first layered with slip and brushed with iron oxide to create a plantain pattern, and then finished with a layer of silver – a modern juxtaposition against the historical white and blue. Inspired by the writings of Taejoon Lee, the piece evokes the exotic sensibility of landscape and the layers of time.

© By the author. Read Klimt02.net Copyright.
Marianne Huotari. Object: Ananasakäämä, 2021. Ceramics, metal.. 57 x 47 x 70 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Referencing traditional Finnish ryijy tapestries, Huotari has updated the artform by using ceramics in the place of woollen yarn. Hand forming each tiny fragment of clay, they are glazed and fired to create thousands of ceramic pieces which are then handsewn onto a metal base. The overlapping pieces in a variety of sizes and shapes resemble the scales of a fish, creating a delicate and tactile work with vibrant colour combinations that complement its form and texture beautifully.. Marianne Huotari
Object: Ananasakäämä, 2021
Ceramics, metal.
57 x 47 x 70 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Referencing traditional Finnish ryijy tapestries, Huotari has updated the artform by using ceramics in the place of woollen yarn. Hand forming each tiny fragment of clay, they are glazed and fired to create thousands of ceramic pieces which are then handsewn onto a metal base. The overlapping pieces in a variety of sizes and shapes resemble the scales of a fish, creating a delicate and tactile work with vibrant colour combinations that complement its form and texture beautifully.

© By the author. Read Klimt02.net Copyright.
Annika Jarring. Vase: Line, 2017. Glass, silicone.. 58.5 x 50.5 x 49 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Merging architectural structure with the form of a classical vase, Jarring has used a daring non-traditional glass-making technique she has developed to create this sculptural piece. Taking inspiration from Han dynasty jade burial suits, 392 small narrow rectangular panels of clear glass have been strung together using bands of black silicone to create a three-dimensional object made of flat glass. The overlapping black lines of the silicone create a sense of kinetic motion and add strength to the structure of the glass to create an object that is both lightweight and strong, yet visually fragile.. Annika Jarring
Vase: Line, 2017
Glass, silicone.
58.5 x 50.5 x 49 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Merging architectural structure with the form of a classical vase, Jarring has used a daring non-traditional glass-making technique she has developed to create this sculptural piece. Taking inspiration from Han dynasty jade burial suits, 392 small narrow rectangular panels of clear glass have been strung together using bands of black silicone to create a three-dimensional object made of flat glass. The overlapping black lines of the silicone create a sense of kinetic motion and add strength to the structure of the glass to create an object that is both lightweight and strong, yet visually fragile.

© By the author. Read Klimt02.net Copyright.
Dahye Jeong. Basket: A Time of Sincerity, 2021. Horsehair. 37.5 x 29 x 27 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Delicate yet solid, this basket is woven out of thin horsehair to create a flexible geometric design that transposes a 500-year-old Korean  Joseon dynasty technique traditionally used in Sabanggwan hat-making and combines it with an ancient earthenware form. Exploiting the natural elasticity of the horsehair fiber, it has been threaded onto a needle and woven into loops to create a work that expresses both the robustness and the beauty of life.. Dahye Jeong
Basket: A Time of Sincerity, 2021
Horsehair
37.5 x 29 x 27 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Delicate yet solid, this basket is woven out of thin horsehair to create a flexible geometric design that transposes a 500-year-old Korean  Joseon dynasty technique traditionally used in Sabanggwan hat-making and combines it with an ancient earthenware form. Exploiting the natural elasticity of the horsehair fiber, it has been threaded onto a needle and woven into loops to create a work that expresses both the robustness and the beauty of life.

© By the author. Read Klimt02.net Copyright.
Myungtaek Jung. Object: Dumbung-jucho, 2021. Bronze, stainless steel, rivets, stone.. 117 x 59 x 38 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Dumbung-jucho refers to a technical term in Korean architecture for creating foundations in which wooden columns are placed on flat cornerstones. For this piece of furniture, Jung has reinterpreted the cornerstone as support for sitting. Created in two parts, the first is cast in bronze and connected to a stainless-steel base using rivets and the second is a stool created from natural stone, ground flat to steady it and chamfered to reduce its weight.. Myungtaek Jung
Object: Dumbung-jucho, 2021
Bronze, stainless steel, rivets, stone.
117 x 59 x 38 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Dumbung-jucho refers to a technical term in Korean architecture for creating foundations in which wooden columns are placed on flat cornerstones. For this piece of furniture, Jung has reinterpreted the cornerstone as support for sitting. Created in two parts, the first is cast in bronze and connected to a stainless-steel base using rivets and the second is a stool created from natural stone, ground flat to steady it and chamfered to reduce its weight.

© By the author. Read Klimt02.net Copyright.
Soyun Jung. Textile: Someone Is Praying for You, 2021. Monofilament. 23 x 603 x 85 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Monofilament has been painstakingly sewn onto sheets of water-soluble fabrics to create this monumental textile work. Jung has layered the thread to create the outlines of a delicate and ethereal landscape and then submerged the fabric in water, leaving only the threads behind. The threads create the three-dimensional depth and are assembled to form a serene monochrome composition.. Soyun Jung
Textile: Someone Is Praying for You, 2021
Monofilament
23 x 603 x 85 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Monofilament has been painstakingly sewn onto sheets of water-soluble fabrics to create this monumental textile work. Jung has layered the thread to create the outlines of a delicate and ethereal landscape and then submerged the fabric in water, leaving only the threads behind. The threads create the three-dimensional depth and are assembled to form a serene monochrome composition.

© By the author. Read Klimt02.net Copyright.
Junsu Kim. Vessel: Sense of Forest, 2021. Vegetable tanned leather.. 30 x 30 x 62 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Demonstrating an exceptional understanding of the characteristics of raw leather, tiny strips have been freehand coiled, a labor-intensive technique traditionally used on ceramics, to build a tactile vessel that appears effortless and elegant. Created without the use of a mold, the variation in the width of the strips creates a layered surface with different shades that evoke the sensation of being in a forest.. Junsu Kim
Vessel: Sense of Forest, 2021
Vegetable tanned leather.
30 x 30 x 62 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Demonstrating an exceptional understanding of the characteristics of raw leather, tiny strips have been freehand coiled, a labor-intensive technique traditionally used on ceramics, to build a tactile vessel that appears effortless and elegant. Created without the use of a mold, the variation in the width of the strips creates a layered surface with different shades that evoke the sensation of being in a forest.

© By the author. Read Klimt02.net Copyright.
Minwook Kim. Bowl: Instinctive, 2021. Korean oak, copper.. Various dimensions. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Created using wet green wood, the series utilises the natural expansions and contractions of the material as it dries. Carved using a wood-turning lathe, these wafer-thin bowls are then clamped and stapled with copper, a nod to the Japanese tradition of kintsugi, and treated with water to encourage the surface to become wavy and distorted. Left dry and unoiled, one is charred, the second dyed, the third washed, and the final one is left unfinished to showcase the natural colors of the wood. Minwook Kim
Bowl: Instinctive, 2021
Korean oak, copper.
Various dimensions
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Created using wet green wood, the series utilises the natural expansions and contractions of the material as it dries. Carved using a wood-turning lathe, these wafer-thin bowls are then clamped and stapled with copper, a nod to the Japanese tradition of kintsugi, and treated with water to encourage the surface to become wavy and distorted. Left dry and unoiled, one is charred, the second dyed, the third washed, and the final one is left unfinished to showcase the natural colors of the wood

© By the author. Read Klimt02.net Copyright.
Konrad Koppold. Vessel: Oak vessel, 2021. Oak wood.. 34 x 34 x 53 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. This vessel’s archaic form speaks to the tradition of German Kunsthandwerk and plays with asymmetry, turning on four shifted and inclined axes to introduce geometry into a natural form. Guided by the grain and characteristics of the wood from the root section of a mature tree, the vessel is ebonized using an iron-staining technique that deepens the color, finely sanded inside to produce a smooth surface, and brushed outside to reveal the living structure of the wood.. Konrad Koppold
Vessel: Oak vessel, 2021
Oak wood.
34 x 34 x 53 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

This vessel’s archaic form speaks to the tradition of German Kunsthandwerk and plays with asymmetry, turning on four shifted and inclined axes to introduce geometry into a natural form. Guided by the grain and characteristics of the wood from the root section of a mature tree, the vessel is ebonized using an iron-staining technique that deepens the color, finely sanded inside to produce a smooth surface, and brushed outside to reveal the living structure of the wood.

© By the author. Read Klimt02.net Copyright.
Eleanor Lakelin. Vessel: The Landscape of Memory, 2021. Sequoia wood.. 43 x 43 x 29 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Created from turned and hollowed-out burred British sequoia, this vessel has been sandblasted to reveal the denser winter wood, softer summer growth, and flashes of yellow sapwood. Carved off the lathe, Lakelin has followed the contours of the grain to create a deep undulating form and a mottled surface. The vessel has been finished with a hand-made iron solution to evoke the hillsides and iron-stained rocks and rivers of the Welsh landscape.. Eleanor Lakelin
Vessel: The Landscape of Memory, 2021
Sequoia wood.
43 x 43 x 29 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Created from turned and hollowed-out burred British sequoia, this vessel has been sandblasted to reveal the denser winter wood, softer summer growth, and flashes of yellow sapwood. Carved off the lathe, Lakelin has followed the contours of the grain to create a deep undulating form and a mottled surface. The vessel has been finished with a hand-made iron solution to evoke the hillsides and iron-stained rocks and rivers of the Welsh landscape.

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Beate Leonards. Vase: Vase, 2020. Tombac. 21 x 21 x 20 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
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. Forged from tombac (a brass alloy containing 85% copper, 15% zinc) that has been mounted from seven asymmetric rings, hammered, stacked, and soldered together, the vase has then been carefully polished and patinated. The technique requires a mastery of the material, made even more skilled by the form’s partial asymmetry. The composition lends the work a sense of optical movement and shifting equilibrium.. Beate Leonards
Vase: Vase, 2020
Tombac
21 x 21 x 20 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Forged from tombac (a brass alloy containing 85% copper, 15% zinc) that has been mounted from seven asymmetric rings, hammered, stacked, and soldered together, the vase has then been carefully polished and patinated. The technique requires a mastery of the material, made even more skilled by the form’s partial asymmetry. The composition lends the work a sense of optical movement and shifting equilibrium.

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Peter T McCarthy. Textile: Étoffe de Gloire / Royal Kita With Red Stripes, 2021. Sewn zippers.. 233 x 20 x 215 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
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. Hundreds of colored zippers have been individually stitched together and then sewn into a large cloth which draws on the checked motif and method of construction typical of the traditional Kenté or Kita cloth made by the Akan peoples in West Africa. These zippers were part of a donation of unwanted sewing materials and the work speaks of dying local traditions in the wake of globalism.. Peter T McCarthy
Textile: Étoffe de Gloire / Royal Kita With Red Stripes, 2021
Sewn zippers.
233 x 20 x 215 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Hundreds of colored zippers have been individually stitched together and then sewn into a large cloth which draws on the checked motif and method of construction typical of the traditional Kenté or Kita cloth made by the Akan peoples in West Africa. These zippers were part of a donation of unwanted sewing materials and the work speaks of dying local traditions in the wake of globalism.

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Kate Malone. Sculpture: Magma Interrupted, 2019. Crystalline-glazed stoneware.. 58 x 49 x 20 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
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. This powerful and dynamic stoneware work combines multiple geometric units to create an individual piece that is sculpturally strong in and of itself. Each individual unit has been carefully balanced before firing as one whole form. Fantastic scale converges with delicate crystalline glazes in the creation of this work, which demonstrates a passionate and technical understanding of the exacting alchemy needed to produce these crystals and an inherent knowledge of how clay behaves at all stages of the creation process.. Kate Malone
Sculpture: Magma Interrupted, 2019
Crystalline-glazed stoneware.
58 x 49 x 20 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

This powerful and dynamic stoneware work combines multiple geometric units to create an individual piece that is sculpturally strong in and of itself. Each individual unit has been carefully balanced before firing as one whole form. Fantastic scale converges with delicate crystalline glazes in the creation of this work, which demonstrates a passionate and technical understanding of the exacting alchemy needed to produce these crystals and an inherent knowledge of how clay behaves at all stages of the creation process.

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Fredrik Nielsen. Object: Mixed Emotions: Stick It Together Silver and You’re Not the Only One, 2019. Blown and melted glass, metallization.. Various dimensions. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
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. Taking multiple influences as its starting point, including graffiti, pop music, and the way in which painters layer a canvas, the three glass works in this series have been blown, cast, and fired multiple times to create three large-scale globular works. Each firing risks the work’s destruction, especially at this scale, and Nielsen’s contemporary approach pushes the craft of glass making into a new direction that remains relevant to today.. Fredrik Nielsen
Object: Mixed Emotions: Stick It Together Silver and You’re Not the Only One, 2019
Blown and melted glass, metallization.
Various dimensions
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Taking multiple influences as its starting point, including graffiti, pop music, and the way in which painters layer a canvas, the three glass works in this series have been blown, cast, and fired multiple times to create three large-scale globular works. Each firing risks the work’s destruction, especially at this scale, and Nielsen’s contemporary approach pushes the craft of glass making into a new direction that remains relevant to today.

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Julia Obermaier. Brooch: Verborgen, 2021. Rock crystal, resin, pigment, stainless steel.. Various dimensions. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
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. Unlike in conventional jewellery pieces where the stone compliments the precious metals that form the structural support, in this piece gemstones have been used to create the entire brooch. Thin slices of gemstone fragments have been layered and overlapped to create sections of contrasting opacity, which are then joined together using colored resin.. Julia Obermaier
Brooch: Verborgen, 2021
Rock crystal, resin, pigment, stainless steel.
Various dimensions
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Unlike in conventional jewellery pieces where the stone compliments the precious metals that form the structural support, in this piece gemstones have been used to create the entire brooch. Thin slices of gemstone fragments have been layered and overlapped to create sections of contrasting opacity, which are then joined together using colored resin.

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Mayumi Onagi. Object: Cosmos, 2020. Lacquer, soil, linen, rice glue, wood.. 60 x 93 x 43 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
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. Resembling a colossal seed, this large-scale lacquer work expresses the chain of life from ancient times to the future and the great power that supports it. The work is divided into two parts, the upper part has been shaped using a traditional kanshitsu modeling technique, in which linen is hardened with soil and lacquer. Over a period of six months, the linen has been layered and shaved back to create a stratum-like texture on the surface and then rubbed and polished. The lower part is made from katsura wood, and the surface is carved to express the flow of water.. Mayumi Onagi
Object: Cosmos, 2020
Lacquer, soil, linen, rice glue, wood.
60 x 93 x 43 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Resembling a colossal seed, this large-scale lacquer work expresses the chain of life from ancient times to the future and the great power that supports it. The work is divided into two parts, the upper part has been shaped using a traditional kanshitsu modeling technique, in which linen is hardened with soil and lacquer. Over a period of six months, the linen has been layered and shaved back to create a stratum-like texture on the surface and then rubbed and polished. The lower part is made from katsura wood, and the surface is carved to express the flow of water.

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Pao Hui Kao. Piece: Urushi Paper Pleats Bench, 2021. Paper, rice glue, urushi lacquer.. 33 x 135 x 39 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
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. This bench has pushed functionality to its extremes by experimenting with fragile tracing paper to create a structure capable of supporting the weight of the sitter. Using urushi lacquer, traditionally used in Japanese woodwork and which has never before applied to this material, the paper has been coiled and then treated to strengthen it. The coils are then joined using rice glue to create a beautifully balanced piece that gives the illusion of a natural environment.. Pao Hui Kao
Piece: Urushi Paper Pleats Bench, 2021
Paper, rice glue, urushi lacquer.
33 x 135 x 39 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

This bench has pushed functionality to its extremes by experimenting with fragile tracing paper to create a structure capable of supporting the weight of the sitter. Using urushi lacquer, traditionally used in Japanese woodwork and which has never before applied to this material, the paper has been coiled and then treated to strengthen it. The coils are then joined using rice glue to create a beautifully balanced piece that gives the illusion of a natural environment.

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Vera Siemund. Necklace: Dornröschen (Sleeping Beauty), 2021. Steel, silver, coral.. 20 x 30 x 60 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
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. Combining historical architectural motifs, such as domes and pavilions, and topped with ornamental crowns and blackberry thorns, this necklace has been created using hand-sawn steel. The material is a reference to the Berlin iron jewellery which became popular during the 19th century, when precious metals were used to help fund the Napoleonic war. The elements are connected by a silver chain with a clasp made from coral roses set in silver.. Vera Siemund
Necklace: Dornröschen (Sleeping Beauty), 2021
Steel, silver, coral.
20 x 30 x 60 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Combining historical architectural motifs, such as domes and pavilions, and topped with ornamental crowns and blackberry thorns, this necklace has been created using hand-sawn steel. The material is a reference to the Berlin iron jewellery which became popular during the 19th century, when precious metals were used to help fund the Napoleonic war. The elements are connected by a silver chain with a clasp made from coral roses set in silver.

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Chikuunsai Tanabe. Basket: Connection, 2020. Bamboo rattan.. 59.5 x 27 x 22.5 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. Perfect proportions and exceptional craftsmanship come together in this basket to create a piece that is both beautiful and harmonious. A contemporary form that shows incredible mastery of traditional Japanese bamboo basketry, its interlocking loops are formed using bunch knitting. This poetic work expresses a connection between people and nature, and links an ancestral material and technique to the present day.. Chikuunsai Tanabe
Basket: Connection, 2020
Bamboo rattan.
59.5 x 27 x 22.5 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

Perfect proportions and exceptional craftsmanship come together in this basket to create a piece that is both beautiful and harmonious. A contemporary form that shows incredible mastery of traditional Japanese bamboo basketry, its interlocking loops are formed using bunch knitting. This poetic work expresses a connection between people and nature, and links an ancestral material and technique to the present day.

© By the author. Read Klimt02.net Copyright.
Domingos Tótora. Sculpture: Âmago, 2019. Recycled cardboard with natural earth pigment.. 23 x 30 x 85 cm. Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.
. 
. This sculptural piece demonstrates a long-term commitment to sustainability and is deeply rooted in Tótora‘s own community in Brazil, harking back to a local tradition of building houses using mud and   water. The vessel has been created using a new material of Tótora’s own invention which he developed by combining discarded cardboard waste with water to create a pulp that is then dried under the sun. The earthy tones and rough texture of the vessel’s surface lends the piece an ambiguity and tactility that is hard to pinpoint, somewhere between cork, wood and ceramic.. Domingos Tótora
Sculpture: Âmago, 2019
Recycled cardboard with natural earth pigment.
23 x 30 x 85 cm
Selected Finalist at the LOEWE FOUNDATION Craft Prize 2022.

This sculptural piece demonstrates a long-term commitment to sustainability and is deeply rooted in Tótora‘s own community in Brazil, harking back to a local tradition of building houses using mud and   water. The vessel has been created using a new material of Tótora’s own invention which he developed by combining discarded cardboard waste with water to create a pulp that is then dried under the sun. The earthy tones and rough texture of the vessel’s surface lends the piece an ambiguity and tactility that is hard to pinpoint, somewhere between cork, wood and ceramic.

© By the author. Read Klimt02.net Copyright.
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